Initially this film was going to feature Counting Crows and a lot of their famous friends, but instead the band scrapped the idea after they filmed this show, which was recorded live at Town Hall in New York City on Sept. 18, 2007.

It should be especially loved by the more than 7 million people who bought the Crows’ extraordinarily successful 1993 debut “August and Everything After.” While not a note-for-note recreation (this is a band that loves to improvise after all) singer Adam Duritz and his mates deliver a very faithful reading of their most successful album.

Songs like “Round Here,” “Mr. Jones” and “Omaha” come alive on stage, and Counting Crows even turn “Rain King” in an entirely unexpected direction when they play virtually all of Bruce Springsteen’s “Thunder Road,” smack dab in the middle of it.

Like any Counting Crows’ show, it benefits from Duritz’s soulful and passionate singing and it also suffers from his sometimes overwhelming stage personality and overwrought stage mannerisms. But if the band was going to pick one album to be preserved in performance, they chose the right one.

Bonus features include an approximately 40-minute interview with Duritz and multi-instrumentalist Charlie Gillingham.

Unflinching, unapologetic, and typically unpolished, Drive-By Truckers have been thrashing away with their rough-hewn brand of Southern rock for more than a decade, and it’s the perfect time to take stock in the form of this 16-song collection.

They weren’t exactly fans of Lynyrd Skynyrd growing up, though founding members Petterson Hood and Mike Cooley were raised near each other in Alabama and the band’s initial big break came in the form of glowing reviews garnered by 2001’s “Southern Rock Opera,” which was knee deep in Skynyrd mythology. Three songs from that album are included here, notably the loud and rowdy “Ronnie and Neil,” and the autobiographical tale of growing up in the South, “Let There Be Rock.”

Guitars are crashing all over this retrospective offering just a hint of the fury of a DBT live show. Occasionally awkwardly heavy (“Lookout Mountain”) they’re better on more reflective fare such as “Outfit,” and the biblically-layered, steel-guitar draped killer cut “The Righteous Path.”